I want to learn about the world we live in and the physical things that we are surrounded by. Through playing and exploration I am constantly developing an understanding for the mediums I use, and engaging with the world around me on a physical and instinctual level. The materials are from the world, and I want to discover and display their limitations and possibilities. The materials are my only starting point, and working through their processes I make forms that explore these physical properties. Stretching, tension, weight and length are a constant theme that use the height of the architectural space, hanging from the ceiling, drawing attention the environment that the viewer and the form share. During the making I am in a reality where my concentration is fully absorbed by materials. The objects take form through an intuitive engagement that results me seeing them as almost extensions of my Self, or my ‘offspring‘. The obsessive repetition involved in the procedures inevitably forms a strong relationship between me and my work. They are tactile, concrete forms, and I want them to exist on their own, referencing nothing other than themselves. I see them as individual characters, with their own strengths and weaknesses.

Studio Flash Photography

Play

Having discussed our reasons for making art with numerous people, I have decided that play is not simply an action or activity that is carried out simply for enjoyment, pleasure, joy and delight. It is far more complex. The engagement of the emotions and the seriousness with which children undertake playing suggests that there is a necessity in it. We educate ourselves, discover the world around us, create relationships with others, communicate, discuss...

It is the starting point of so much more than simple pleasures. As human beings we have a desire to understand and discover, and playing is the most natural and affective way of carrying out these developments of our minds. The more you know the more you question. Play is the thirst for knowledge from the subconscious.

Goard

The forms and my processes are beginning to tire. I need to have a break and look around and try to refresh myself. I was attempting something random with a slight varient on the basic shape. I would like it to be more bulbous. The two pieces of wire are joined in a continuous length of wire. I think this could be developed on, as I like the two exits.

Mid year - Emma Rushton/Richard Bell 20.01.09

• Need to address how to display and exhibit.
• How are the works installed and what effect does this have on them?
• Think about how they work with the architecture of a space.
• "Truth to materials" is confused. Modroc...etc are traditional sculptural materials, so a truth to them is a difficult one.
• Current work looks messy.
• What the objects do is more interesting. Hanging is playful - imaginative and engaging. Hovering despite the weight.
• Is is important to make something which doesnt ahve a distinguishable material?
• Is it the process or form which is more important?
• Do I want to escape from the meaning of the materiality and association?
• Can interpretation be open?
• How to record the images.

Sand bags

Multiples?

These are canvas strips dipped into plaster and then coated with PVA. I want to see if they work as a group. Either hung from the same string or hung close together as a unit. I like the meathooks but have to question them. I also don't know whether the forms should hang directly from string, whether the string should be built into the internal construction of the form or whether it should be chain. I think chain is too hard and aggressive. But these make me think of pods in waiting. And the hooks give a more object feel to them as they can easily be moved and placed somewhere else. There is an impermanence.